Czar-Czar (1970)

Such are the vagaries of the music business that incredible talent doesn't always guarantee success or lasting recognition. This was the case for this British band, founded in 1966 as Tuesday's Children, who changed their name to Czar in 1970. In their early days, this English quartet stuck to the parameters of pop rock, with some flirtations with progressive rock, and during the late 1960s they were regulars at various London clubs like the Marquee and toured with The Moody Blues, The Nice, The Troggs, and King Crimson. Their lineup consisted of guitarist and vocalist Mick Ware, keyboardist Bon Hodges, drummer Derrick Gough, and bassist Paul Kendrick. Now as Czar, they entered the recording studio and poured their talent into their self-titled album, released in 1970. This work leaned more towards progressive and avant-garde sounds, with extensive use of the Mellotron, thus diminishing the pop influences of their earlier period. On this first and only album, standout tracks include the audacious, progressive-jazz-tinged "Tread Softly On My Dreams", a clear example of the influence of the early King Crims. This is followed by the epic symphonic "Cecilia", and the first side of the album closes with the vigorously progressive "Follow Me". Side two features the intense "Dawning Of A New Day" and the brilliant "Beyond The Moon" and "A Day In September", which serve as the culmination of this interesting album by this magnificent and now-forgotten band. As would happen to so many others, Czar failed to achieve the desired success, a fact that precipitated their demise a year later. In 2007, this unique album was reissued with extra material that was intended for the recording of a second album that was never released.

Demon Fuzz-Afreaka! (1970)

Another of those magnificent, short-lived bands was the Afro-British Demon Fuzz, composed of descendants of South Africans who had emigrated to England after World War II, taking advantage of the labor shortage in British industries caused by the loss of thousands of men in that tragic conflict. This unique band was part of a diverse style that fused Latin rhythms reminiscent of Santana, the Afro-rock of Osibisa, and elements of jazz and funk blended with progressive jazz. Their lineup consisted of eight members: five formed the standard rock section drums, bass, Hammond organ, guitar, and vocals, and the rest were wind and percussion musicians. After touring for several years in various London clubs, they secured a contract with Dawn Records, releasing their only album, "Afreaka!", a magnificent work where the rhythm and energetic music captivate the listener from the opening and exhilarating "Past Present And Future", a splendid nine-minute instrumental brass rock track. The jazz-rock vein is evident in "Disillusioned Man", where they approach the musical styles of bands like Chicago or Blood, Sweat & Tears. In the exotic "Another Country", the band showcases their eclectic side with a gritty yet elegant track. The second side features their most progressive moments with the haunting "Hymn To Mother" and the psychedelic and dynamic "Mercy (Variation No. 1)". Following the album's release, the group embarked on an extensive UK tour alongside other bands from the same label, such as Camus and Heron, as well as making a guest appearance on the BBC. The recording of a subsequent maxi-single would be the band's last official release, as they disbanded some time later due to a lack of success despite their immense talent. Their only album, with the addition of some previously unreleased tracks, has been repeatedly reissued in recent years in the British, North American, and Japanese markets, generating considerable enthusiasm among fans of the darker sounds of 1970s progressive rock.

Nobody´s Business-Nobody´s Business (1978)

Nobody's Business is one of those rare bands that, formed as a supergroup, barely lasted beyond a single, engaging hard rock album, released only in Japan, and a few months of sporadic promotional tours. Formed in 1977, the members boasted impressive resumes, starting with Tony Stevens, bassist for Foghat and former member of Savoy Brown; Bobby Harrison, singer and drummer for the legendary Procol Harum; Joe Jammer, guitarist for the Olympic Runners; and renowned session drummer Jerry Frank. Their only album is an appealing fusion of rock sprinkled with blues and funk. However, it was a style they released when blues rock and proto-rock sounds were somewhat outdated, only experiencing a revival in the early 1990s. This single album, self-titled “Nobody’s Business”, was released in 1978 and contains an attractive repertoire of addictive tracks such as the somber “Losing You” or the menacing “Unsettled Dust”, two perfect examples for AOR fans, while the harder rock side is present in the manifest “Cut In Two” and “Bleed Me Dry” or in the cheerful funk rock “Living Up To Love” and “Doing The Best I Can”, while the title track is a powerful rock song that leaves us with a taste of the most forceful Humble Pie.

Dark-Dark Round The Edge (1972)

"Dark Round The Edge" is another one of those 1970s albums highly coveted by collectors. Of this first and only album by the British band Dark, only about fifty copies were released; most of them ended up with friends and family of the band, and only a few were officially sold. In the mid-2000s, this album was listed as the seventeenth most valuable record of all time, with some collectors paying astronomical sums for an original copy, reaching a price of £2500 on one occasion in the mid-1990s. Dark was a psychedelic rock band founded by guitarist Steve Giles, who, along with drummer Clive Thorneycroft, bassist Ron Johnson, and second guitarist Martin Weaver, recorded a dark and powerful rock album under the production of Alan Bowley. The album featured a strong emphasis on visceral and psychedelic guitar riffs in the purest style of The Jimi Hendrix Experience or Grand Funk Railroad. The album contains powerful hard and heavy blues rock tracks such as "Darkside", "Maypole", "Live For Today", "Cat", and "Zero Time", but despite their enormous quality, they were relegated to obscurity due to poor post-production planning and a complete lack of promotion by the band. Due to the significant demand this album has generated in recent years, it has been reissued several times on vinyl and CD.

Jean-Michel Jarre-The Concerts in China (1982)

The Concerts in China (or Les Concerts en Chine), is an important part of the history of modern music. So are 800 million people (!!!) who followed the live concerts or radio. And it is that nobody wins Jean Michel Jarre you great mass gathering of people for a single concert, remember 2 million in Paris in 1990. The musical content of the double album is a selection of songs from the last two albums of previously edited Jarre (no Deserted Palace and Les Granges Brulees), plus a few new songs that either were made specifically for the tour (The Overture , Arpegiator, Laser Harp, Night in Shanghai, Orient Express) were either traditional (Fishing Junks at Sunset) or were only included on the disc a posteriori (Souvenir of China). Something to keep in mind is that the issues were very strictly selected for editing, since not all the concerts-given the special circumstances that Jarre had to count on such a juncture, and later explain the why-they had a perfect sound quality. Probably Jarre was asked that he should put special attention to the staging (lasers and others) rather than music, as this surely would sound very strange to the Chinese and had to give them a show if or if. But do a little history ... The French musician went out (and almost ruined) for being the first Western musician to play in post-Mao China. The experience was chaotic and unforgettable, but likely to be worsened. In mid-December 1979, Jean Michel Jarre received a call from the secretary-general of UNESCO, the Senegalese Amadou-Mathar M'Bow. The Chinese Government would be interested in Hua Guofen Jean Michel Jarre travel to Beijing and formalize a series of concerts in communist China, just three years after the death of Mao. Amadou-Mathar had studied in Paris and felt a very special affection for France. At the meeting of the UNESCO headquarters, Secretary General tells Jarre to Radio Beijing has begun to radiate their albums, from 'Oxygene' to the last 'Magnetic Fields'. Jarre almost jumped for joy, because it was a year and a half insistence to the Chinese Embassy in Paris to approve his concerts, at the same time that there was astonished. Moreover, it was clear who was handling all the threads of the recent Chinese Communist economy was Deng Xiaoping. That same month, China had purchased several planes to Boeing and Coca-Cola announced the opening of a factory in Shanghai ... something was changing in the most isolated country in the world, or so it seemed at first glance. The July 13, 1980, the following year, Jean Michel Jarre and his wife Charlotte Rampling reach Beijing. His first meeting with the Chinese authorities occurs at the Conservatory of Music in Beijing China, located in one of the adjacent streets of Tien An Men Square. Jarre had taken the precaution of taking a couple of synthesizers to let them show the Chinese what electronics had changed the face of music. Chinese hallucinated with new sounds. They are excited with all the 'currencies' Western. Jarre himself was surprised at the Conservatory that not a single acoustic piano is not found. During the Cultural Revolution, the piano had been convicted of Western musical decadence. It seems that throughout Beijing, at most, there were only two pianos and controlled cultural apparatus of the communist regime. That evening, Jean Michel and Charlotte attend a concert of Chinese symphonic music. Jarre recorded on a cassette music to compose something about Chinese musical idea, but with synthesizers. At night, dine with Madame Wuang, director of the national radio. The ruling says that over half a million Chinese already know Jarre's music, because he has given orders that are heard as disturbing technological innovation in the culture of a new country, developing. As everything becomes eternal by the civil service, Jarre does not return to that country until February 1981. It flies in the same Concorde, with François Mitterrand, who is about to be president. The presidential candidate says he will talk with the Chinese to get to act, at least in Beijing. Jean Michel tells the president that his idea is to adapt some traditional theme of Chinese classical music with synthesizers and adapt. Something difficult to solve, because in Chinese classical music are not interpreted scores memory and hearing. In June, Jean Michel back again Beijing. last technical details with the huge workforce of Chinese officials, unable to understand each other. The meetings almost mad French artist. Nearly a week after the discussions, it is on the verge of aborting the project, to abandon the business. Charlotte explains that these concerts will be more difficult to achieve a concert at the far side of the moon. And precisely for that time, Jean Michel is impressed by the staging of 'The Wall', the magnum opus of Pink Floyd. So hires Mark Fisher to achieve spectacular staging. The signing of Mark for the project raises morally Jarre, who agreed with the Chinese finally two concerts in Beijing and three in Shanghai. Finally, on October 15, 1981 Paris off a special plane to Beijing. Transported 15 tons of material with boxes labeled 300 and 70 people on board. The plane arrived in the capital 30 hours after China. In the airport, the Chinese authorities forced him to formalize and sign a kind of contract. But soon they begin endless problems, since the decline of the Chinese Communist apparatus causes chaos in the expedition. For starters, the authorities had not provided many rooms in the hotel where they stay. To the extent that Dominique Perrier, one of the technical loses his wife for many hours lost in one of the hotels that have enabled the fly in some remote part of the huge city. But the worst is yet to come. Arrived at Beijing Sports Palace, Jarre team is stumped. No electrical outlets and no electricity no concert, after long talks with Chinese-French translators do not translate well, you have to step in China's Ministry of Industry to solve the problem. Every Frenchman has a Chinese technician available, although in some ways are their caretakers and guardians of the Chinese Communist apparatus. Another problem is that the Chinese back their crazy coffee machines that have installed the French team. In a couple of days, there is no 'stock' or coffee or sugar. Who said that Chinese like tea? Dictated by unscrupulous authorities, there are two general technical inspections every day. The first at 11.30 am and the second at 17:30 pm. Jean Michel Jarre talks to the 'bureau' communist and requires them to be free tickets. You receive an insolent no for an answer. They say the tickets are very cheap. 30 cents more expensive and the cheapest 18 (change) cents. But keep in mind that China's average wage was only four hundred and eighty cents (just about five dollars). A Jarre has no choice but to swallow left. As few tickets sold are sold, Jean Michel, with his partner Dreyfuss ensure buy and give away 180,000 tickets three days of performances in Shanghai. A view of the business, the Chinese charge six cents each entrance faces tax issue, they say. Fortunately, the rest of the material, synthesizers and set design time have come to Hong Kong. Comes the big night, on October 21, 1981. Most were soldiers and public officials. In the end, the regime had given the inputs. Like everything is going to film and will have a global propaganda, the regime installed as president of the Palacio de los Deportes in Beijing to Panchan Lama Ederni, which had been the collaborationist Tibetan leader, the friend who had been cast as vice president National Assembly to show that China is crushing the Tibetan people. Jarre premiered in Beijing on Fairlight, the new instrument could sequence and sample any sound. But the Fairlight fails because of the continuing brownouts in electricity. Worse, Frederic Rousseau is wrong to shoot sequences and ends nagging. A musical chaos. The sound is a disaster. After the concert, Jarre learns that more than two near the Palacio de Deportes neighborhoods have been dark for the French to have their electricity. Jarre is also demoralized because, as the concert progressed, people were leaving the premises. Officials say it was because he did not want to lose the last public vehicles only means to return home. Actually, everything is a whimsical game advertisements. A Jarre drove him crazy, excited him become the first Western artist who played in China. For the Chinese regime was widely publicized show the world that were not closed to the world. Quite the opposite. They were the more modern village, open to the Marco Polo mail with a society open to the latest music technology. Pure marriage of convenience. The truth and the only truth was that the Chinese did not understand at all Jarre's music. And neither the lasers, the overwhelming sound and paraphernalia staging of Mark Fisher made them out of indifference. They were forced to concerts, like the entire French team were guarded in a special way. The concert of the second day was much better. In addition, Jean Michel Jarre could play with the Beijing Symphony Orchestra small one of the most famous pieces of traditional Chinese music, 'Fishing with reeds at sunset'. Quite an achievement, but everything sounded out of tune. Chinese-government daily, the next day, Jean Michel Jarre called "the magician of sound and light," the "great master of electricity." But its electronic circus has to travel to Shanghai. We expect three concerts, on 26,27 and 28 October. As had happened in Beijing, a large district of Shanghai remains without light for feeding electricity to the stadium of 60,000 spectators. Or giving away the tickets, the stadium is completed to fill any of the three days. Yes, the public hallucinating with portable synthesizer Jarre and even his famous harp electronic works in Shanghai. Beijing had failed to install due to technical problems. Besides the China National Radio broadcast live across the country each and every one of the concerts. In the end, there is a general feeling happy. All concerts have had great impact worldwide. Jarre had invited more than 20 journalists from many countries. The Chinese offered the possibility of a sixth concert in Beijing before the propaganda success in the world. But Jean Michel prefers to buy a motorcycle to a police officer in Beijing for three thousand francs and return to Paris after the Chinese nightmare. On the plane back, Jarre write the topic of their double album 'The concerts in China'. He calls 'Souvenir de Chine'. A week later, Jarre and his musicians all come into the studio to select the items to be recorded on the disc. For the rest of the five nightmares in China can only assert the footage shot on film. Dreyfuss Jarre and his partner had lost 5 billion francs-about a nearly 400 thousand euros of today on the trip to China. It took nearly five years to recover the money from the venture. Interestingly, Jean Michel back to China in March 1994. Thirteen years later. But what was even more chaotic, because the concert was made in Beijing's Forbidden City. This was even worse than the first adventure. The Chinese had lost oppression of the communist regime and just enjoyed the money. Jarre learned much from a Chinese proverb which read: "The wise man can sit on an anthill, but only the fool is sitting in it." Sure you associated with his second trip to China.

Warhorse-Red Sea (1972)

“Red Sea” was the second and final release from the British band Warhorse, one of the most promising progressive hard rock bands of the seventies, who had the misfortune of competing with contemporaries like Uriah Heep and Deep Purple, among many other bands of the era. Their leader, bassist Nick Simper, came from the latter, and was, predictably, expelled by Ritchie Blackmore. Even from their impressive debut, this band possessed all the elements for guaranteed success: the raw sound of Creedence Clearwater Revival, the feeling of the Allman Brothers, the magic of Led Zeppelin, and the virtuosity of ELP. Their continued success was a palpable demonstration that with different luck and a better vocalist, they could have gone much further. For this second album, the band still consisted of Ashley Holt on vocals, guitarist Peter Parks, keyboardist Frank Wilson, drummer Mac Poole, and the aforementioned Nick Simper on bass. At the time, there was much debate about why they never achieved the success they deserved. Perhaps part of it was the insufficient promotion by the record company Vertigo, which was more interested in promoting other bands on its roster. However, it's also true, considering the time of its release, that there were dozens of bands then that were competitive and incredibly creative enough to surpass or equal them with their interesting approach, without resorting to the same old clichés. Even so, Wilson's raw and gritty organ, Simper and Poole's firm and precise rhythm section, Parks' sweet guitar harmonies, and Holt's tense and vibrant screams carried the band through the series of high-quality songs that make up this album, as demonstrated by the hard rock tracks "Back In Time" and "Mouthpiece", both with that unmistakable Deep Purple style, the blues rock "Confident But Wrong", the laid-back "Feeling Better", the rhythmic "Sybilla", and the progressive "I (Who Have Nothing)". “Red Sea” would be the culmination of a band that in its early days showed itself to be one of the most precocious formations of the best hard rock, even almost on par with Deep Purple themselves, but for different reasons they did not get past the starting line and fell into complete oblivion, despite creating two fantastic albums that today are considered an essential part of the evolution of proto-hard rock.

Lift-Caverns Of Your Brain (1977)

Hailing from North America, Lift was a prodigious and enthusiastic old-school progressive rock band that released their only album in 1977, featuring a repertoire of songs composed and assembled several years prior. Their style was based on the influences of British bands like Yes and Nektar, with dark atmospheres reminiscent of Pink Floyd's early psychedelic era. Their ideas were more centered on classical symphonic musical dynamics, which set them apart from their contemporaries like Kansas and Journey, bands that infused progressive rock with typical American rock elements. Lift, on the other hand, delved into robust instrumental jams in a more structured way, providing ample space for each band member to shine. Formed in the early 1970s by keyboardist Chip Gremillion, bassist Cody Kelleher, and drummer Chip Grevemberg, they later recruited guitarist Chris Young and vocalist Courtenay Hilton-Green. After some time, Richard Huxen took over as guitarist following Young's departure. With this lineup, the band gained a large following thanks to their performances throughout the southern United States, especially at university concerts. In 1974, the band entered the studio and recorded a series of unreleased songs, remaining in storage. They also recorded several live performances that were never officially released. A year later, they moved to Atlanta and then to Philadelphia, where they re-recorded the previously recorded material. This material was later officially released as "Caverns of Your Brain" by Brian Records, after Lift had already disbanded. On this unique album, keyboardist Gremillion is the band's instrumental leader, thanks to his orchestral keyboard arrangements and synthesizer and organ solos, but the other musicians also demonstrate great skill on their respective instruments. Chris Squire's influences are evident in the bass playing, while the drummer's swinging touch provides very interesting sounds in each track. The opening track, "Simplicity", is a cheerful yet complex composition, while "Caverns" is more solemn, with thick layers of mellotron and synthesizers. "Buttercup Boogie", as its name suggests, is the only concession to the American sound, with a boogie-rock track built on a very bluesy organ and a frenetic rhythm. But it's the mini-suite "Trippin' Over the Rainbow" that stands out, alternating serene and atmospheric passages with more rock-oriented moments in a very balanced way. "Caverns of Your Brain", while not groundbreaking for its time (somewhat late for that progressive style), is a collector's item for purist progressive rock fans and a small, lost gem of the genre.

Iron Maiden-Iron Maiden (1980)

This is one of the gems of heavy metal, yet simultaneously undervalued by the newer Iron Maiden fans of the era when Bruce Dickinson was frontman. Considered one of the seminal works of the so-called "NWOBHM" (New Wave of British Heavy Metal), this debut album showcased all the qualities of the movement, with the added touch of punk influences seasoned with more complex and epic sounds. The band was still in the process of solidifying its most classic, successful, and enduring lineup, comprised at that time of bassist Steve Harris, guitarists Dave Murray and Dennis Stratton, drummer Clive Burr, and vocalist Paul Di'Anno. This lineup would undergo significant changes starting with their third album, including the addition of Bruce Dickinson, and a year earlier, guitarist Adrian Smith, followed later by drummer Nicko McBrain in other words, their most classic and long-lasting lineup. But focusing on this first, seminal album, these young musicians demonstrated great instrumental virtuosity and very clear preconceived ideas, all revealed in the powerful "Prowler", the epic instrumental "Transylvania", the marathon progressive "Phantom of the Opera", the visceral and punk-infused "Running Free" and "Sanctuary", and the glorious "Iron Maiden". From here began the legend of a band as iconic as it is fundamental to the history of heavy metal and rock in general.

Journey-Frontiers (1983)

Journey's eighth album, "Frontiers", marked a shift towards a harder sound compared to its predecessor, the more melodic "Escape", while still retaining the band's distinctive harmonic and melodic style. However, before this album, Journey faced the daunting challenge of at least matching the five million copies sold of "Escape" at the time (a figure that now approaches twenty million). With this in mind, the band opted for an album packed with energetic tracks, such as the opening "Separate Ways (Worlds Apart)", which quickly became a classic. This is followed by the melodic and sentimental "Send Her My Love", where they once again demonstrate why Journey have been true geniuses at composing beautiful and irresistible ballads. The powerful rock of "Chain Reaction" leads into the melodic AOR track "After the Fall", while the enchanting ballad "Faithfully" adds another admirably melancholic moment. From this point on, virtually all the remaining tracks are the hardest on the album, such as the powerful “Edge Of The Blade” and “Back Talk”, or the melodic mid-tempo tracks “Ask The Lonely”, “Frontiers”, and “Troubled Child”, where they combine energy and melody simultaneously. The addictive “Only The Young”, one of the album's hits, deserves special mention. As expected, “Frontiers” didn't reach the astonishing heights of “Escape”, although it did reach number two on the US charts and achieved global sales that far exceeded 7 million copies.

Grannie-Grannie (1971)

This is one of those strange and obscure limited-release albums, originally appearing only as a promotional disc, with an official run of just 100 copies and a stark, handcrafted cover. This British band was formed by guitarist Phil Newton in the late sixties. Little else is known about the history of this short-lived group, who privately recorded an album in 1971 without a label to finance them, only to vanish shortly thereafter. Grannie was initially a cover band that played in various London venues such as The Marquee and The Roadhouse. Besides Phil Newton, the band consisted of singer Fred Lilly, flautist Jan Chandler, bassist Dave Holland, and drummer Johnny Clark. Taking advantage of an advertisement offering eight hours of studio time, a master recording, and an album for £99, Newton began composing his own songs for the group to include on the recording. The result was an album composed of six tracks of avant-garde and progressive rock, featuring heavy guitars and catchy melodies, as demonstrated in songs like "Coloured Armageddon", "Saga of a Sad Star and Leaving", "Romany of Return", and the acoustic "Dawn". After recording this album, the band suffered the theft of all their equipment before one of their performances, including their first and expensive Mellotron, effectively erasing all trace of the band. In the 1990s, the prestigious magazine Record Collector included this album among the 100 most valuable records of all time due to its high quality, rarity, and limited pressing.

Jimmy Page & Robert Plant-No Quarter (1994)

In 1994, the long-awaited reunion of some of the legendary Led Zeppelin members finally took place, thanks to the live album recorded by Jimmy Page and Robert Plant titled "No Quarter". The tracks on this live album were taken from various performances in London, Wales, and Morocco during mid-1994. Featuring Arabic orchestration on several tracks, the repertoire was based on a more traditional folk and blues style. Despite being quite different from the hard rock and blues rock of their parent band, this new album became a magnificent work and a huge commercial success. Composed of covers of Led Zeppelin classics, along with some new songs, the album showcases the more traditional folk and blues side of Page and Plant, styles that were always a prominent aspect of Led Zeppelin's career, all seasoned with subtle Arabic influences. Listening to tracks like "Nobody's Fault But Mine", "Thank You", "Since I've Been Loving You", and "Kashmir" in an acoustic format, with occasional appearances of electric guitar and Page's unmistakable riffs and guitar solos, is a true delight for the ears of all fans of the band and music lovers in general. These tracks contrast with the more exotic "Friends", "City Don't Cry", and "Wah Wah", while cuts like "That's The Way" and "Gallows Pole" are the most powerful on this outstanding live album from two of the greatest legends of rock music.

Marillion-Fugazi (1984)

Marillion's second album, and the first where they truly showcase their own style, moving away from the obvious Genesis influences of their debut. However, despite the band developing highly avant-garde instrumental sections characteristic of their own school, they don't lose sight of the classic sound that was present in their earlier work. For this new album, the band introduced a new drummer, Ian Mosley, who would fit perfectly into the instrumental cohesion of his bandmates. Furthermore, Fish's lyrics are more dynamic, and his vocal style doesn't delve into the vocal intonations of Peter Gabriel. The opening track, "Assassin", represents, in a way, Fish's particular vision of Eastern music an uplifting and energetic song with vigorous drumming, bass interludes, and great guitar riffs. The powerful “Punch and Judy” stands out as one of the most commercially viable yet hard-hitting tracks the band has ever recorded, brimming with powerful riffs, fabulous melodies, and a catchy hook that makes it utterly irresistible. Perhaps “Jigsaw” is the song that most closely resembles the Genesis style, a dark track with soaring passages and sublime guitar solos from Rothery. The superb “Emeral Lies”, with its sinister atmosphere and poetic lyrics, gives way to the brilliant and melodic “She Chameleon”, where the organ takes center stage. To finish the dynamic and progressive track, “Incubus”, which with smooth transitions between the different melodies within the same theme, makes it a superb and brilliant track and one of the fans' favorites in the group's live performances, and the more intimate and delicate “Fugazi”, a worthy conclusion to an extraordinary neo-progressive album, considered one of the masterpieces of the genre.

Bruce Springsteen-The River (1980)

By the late 1970s, Bruce Springsteen had reached the maturity necessary to create a body of work far removed from the youthful dreams of his early albums. However, Springsteen faced a new decade immersed in a creative and personal crisis. The desire to deliver a new album that would meet the expectations of the public and his own record label kept him under constant physical and psychological pressure, and as a result, he discarded a series of tracks intended for an album that was ultimately rejected by the singer himself, who felt they lacked sufficient cohesion and quality for release. Some time later, he returned to the recording studio to tackle his most ambitious project, the one that would simultaneously cement his status as one of the world's leading rock stars. Recorded during the middle months of 1979 at Power Station Studios in New York, Springsteen once again collaborated with his band, The E Street Band, which, curiously, is not credited on the album cover. Released as a double LP, it contains 20 tracks in which the New Jersey musician addresses themes such as coldness, loneliness, melancholy, and attachment to family, but also topics related to youth, as in "Independence Day". Musically, "The River" is a journey through everything Springsteen had done up to that point, with that raw, uncompromising rock fused with hints of country, blues, soul, and folk, all backed by a flawless band, sounding solid and intense, yet vibrant and addictive.

Focus-Hamburger Concerto (1974)

This legendary Dutch band revolutionized the world of rock in the early 70s, largely thanks to the unparalleled talent of Jan Akerman and Thijs Van Leer. Akerman is one of the greatest guitarists in history, both electric and acoustic, as well as a master of the medieval lute, while Van Leer is an accomplished keyboardist on the harpsichord, piano, and Hammond organ, and is considered one of the best flautists in contemporary music. Before the release of "Hamburger Concerto", Focus had released several works oriented towards progressive jazz, featuring extensive jams, tracks brimming with blistering instrumentation, and an impressive interplay between the organ, flute, and a remarkable guitar. This fourth release showcases pure progressive rock, as demonstrated by the title track, an expansive piece that occupies the entire second side, where Jan Akerman and Thijs Van Leer share the lead vocals on a track built upon a foundation of classical music. While side A features the Renaissance-inspired "Delitiae Musicae", the enchanting "La Cathedrale de Strasbourg", the powerful "Birth", with one of the most legendary solos in history by Akkerman, and the forceful progressive jazz track "Harem Scarem". "Hamburger Concerto" is the greatest achievement in Focus's career and one of the high points of the progressive rock genre in the 1970s.

Bodkin-Bodkin (1972)

Bodkin were a short-lived Scottish quintet who released a superb progressive heavy blues album in 1972, but then vanished without a trace. Related to the heavy, dark style of bands like Nosferatu, Atomic Rooster, and Bram Stoker, their sound was based on energetic rock where powerful guitars and a prominent organ created a very appealing mix of dark rock and heavy blues rock, with progressive elements and a certain psychedelia imbued with passages related to the occult and Satanic, but very far removed from the general (literary) concept of bands like Black Sabbath or Black Widow. Their origins date back to 1971 when keyboardist Doug Rome recruited guitarist Mick Riddle and vocalist Zeik Hume, forming the core of Bodkin. Later, bassist Bill Anderson and drummer Dick Sneddon joined them. With this lineup, they entered the studios of producer Jim West, who also owned the independent record label West. He produced and released their self-titled debut album in mid-1972. This single album features five tracks, beginning with the suite "Three Days After Death", which is divided into two parts. The first is highly dynamic, blending heavy rock sounds with subdued passages of atmospheric organ, while the second is more progressive and rhythmic, with sounds reminiscent of Uriah Heep's hard rock. In a similar vein is "Aunt Mary's Traschan", the longest track, which throughout its development leaves us with that scent of classic Deep Purple, while the remaining tracks, "After Your Lumber" and "Plastic Man", being shorter pieces, have less room for progressive moments and are more focused on heavy rock with sharp guitars that remind us of early Black Sabbath.

Winterhawk-Revival (1982)

Winterhawk's only studio album, "Revival", is considered by many to be one of the most outstanding guitar-driven hard rock albums of all time. This Chicago-based band is frequently compared to the Canadian band Rush due to the similarity in their instrumental patterns and Doug Brown's vocal timbre, which bears a striking resemblance to Geddy Lee's. However, musically, Winterhawk's style leaned towards the primitive roots of American hard rock, unlike the Canadian band, which was more influenced by British blues-rock, a style inherited from bands like Led Zeppelin, and which they already showcased in their first three albums: "Rush", "Fly By Night", and "Caress of Steel". Nevertheless, there is no doubt that the shadow of the Canadian trio is evident in many of their instrumental passages, as demonstrated by the title track, the dynamic "Sanctuary", and even the progressive-tinged hard rock of "Period of Change". On the other hand, “Ace In The Hole” showcases the group’s diversity with a muscular piece of instrumental jazz rock, while the Southern rock track “Can’t See The Forest For The Trees” and especially the legendary jam “Free To Live” demonstrate the dazzling talent of their guitarist Jordan Macarus with his dizzying and arabesque solos on the six strings, making it clear that he is one of the great and at the same time unknown guitarists of seventies hard rock.

George Hatcher Band-Dry Run (1976)

George Hatcher is one of the greatest unsung heroes of southern rock, one of those musicians who exude genius and creativity in equal measure. He had to emigrate to Europe in the mid-70s to achieve some recognition with his band, the George Hatcher Band. Originally from South Carolina, George Hatcher had already explored his musical talent in several local groups that came and went without much fanfare, such as Frantic and Flatrock. In 1974, he decided to try his luck in England, where he formed the short-lived band Stark Naked and the Car Thieves with former Curved Air members Stuart Copeland (later famous for founding The Police) and Darrel Way. They toured the country for a while. After this short-lived venture, he founded the George Hatcher Band, initially enlisting guitarist John Tomas and former Renaissance drummer Terry Slade. Shortly after, bassist Harris Joannou, guitarist Phil Swan, and keyboardist Steve Wren joined, completing the band's lineup. Thanks to the United label, they released their first album, "Dry Run", a work oriented towards southern sounds with hints of boogie rock, as demonstrated in the opening track, "Lucky Guy". Other standout tracks include "All Night Gambler", "Rockin' in the Morning", "First Thing Smoking", and "Good Friend", where we find a style influenced by country rock and southern blues that at times recalls the Allman Brothers Band. During the following years, the band continued to release great works such as "Talkin' Turkey" (1977), "Rich Girl" (1978), and "Coming Home" (1980), all of which received significant media attention, leading to appearances at the Reading Festival and opening slots for artists like AC/DC, Ted Nugent, Aerosmith, and Molly Hatchet in the UK. Back in the United States, in 1985 they released their last album, "Hindsight", resuming activity well into the 1980s. In the 2000s, they played a series of concerts with a completely reformed band, touring with leading bands such as Molly Hatchet, Cheap Trick, Black Oak Arkansas, The Outlaws, Black Sabbath, and Scorpions, or performing as the main act for large audiences of up to 80,000 people alongside the 38 Special, such as the one held in 2002 at the famous Speed ​​Street festival in Charlotte.

The Clash-Sandinista (1980)

In 1980, The Clash released their fifth album, "Sandinista!", a triple album whose cover perfectly reflects the image of its four members with their backs to a wall, as if about to be executed an image that perfectly captures the last vestiges of punk. When it was released, this overwhelming collection of songs surprised no one. A year earlier, they had already done something similar with the double album "London Calling", a work brimming with rock 'n' roll anthems, as evidenced even by its iconic cover, a clear nod to Elvis Presley's famous first album. "Sandinista!" consists of 36 songs, not all of them of exceptional quality, but as is to be expected with such a large number of compositions. Ironically, despite being a deeply anti-American album, "Sandinista!" was a huge commercial success in the United States, thanks in part to the diverse styles and sounds it encompasses, from rap and blues to dub and rock. Stylish tracks as disparate as the rockabilly of "The Leader", the epic ballads of "The Magnificent Seven", and the reggae of "Junco Partner" alternate with truly surprising and high-quality compositions such as "Somebody Got Murdered", "The Call Up", "Washington Bullets", "Police on My Back", and "Rebel Waltz". Even with such a profusion of songs, "Sandinista" is not an easy album; its development is quite erratic and its repertoire is excessively disconcerting and disordered, something very common in the punk philosophy, and this album in particular would stage the biography of an entire generation on the threshold of a new decade and the subsequent decline and fall of a genre that almost at the same time as Macío was devoured by its own image.

J.Geils Band-Live Full House (1972)

This led Peter Wolf on vocals and guitar J.Geils band was a real steamroller of rock'n'roll, soul and a lot of rhythm & blues. The truth is that to begin to taste this excellent band material, I can not think of anything else to start this direct published in the year 72. Previously, they had already released two albums that seem formidable me as essential and this recording was not more than the culmination of a perfect trilogy.
But what we were, which is nothing but this live recording at the Cinderella Ballroom in Detroit on April 72, consisting of only 8 songs, but enough to get into orbit from the first second. It is true that the recording can cross a somewhat shorter in duration, when at that time the band offered their fans directly twice typical fall of ass. But, what the hell !, this work sounds like a runaway locomotive without brakes. All exercise of power, passion and joined the unlimited talent musicians energy off his hat. There is little of their own as they only include tremebundo "Hard driving man", but versions that are marked "First I look at the purse" Smokey Robinson, "Homework" Otis Rush or immeasurable "Serves you right to suffer "by John Lee Hooker, to give some examples, are powerful tools to put this live on an altar reasons. And to show a button relative to the strength and intensity that emanated from these guys live with "Looking for a love" ... overwhelming!


   

Thin Lizzy-Bad Reputation (1977)

Thin Lizzy are considered today one of the greatest hard rock bands in history, but this wasn't always the case. For much of their career, they were consistently undervalued and panned by the British press compared to other contemporary bands. Led by Irishman Phil Lynott, their early years saw several lineup changes. From the first lineup, which released their first three albums, featuring guitarist Eric Bell and drummer Brian Downey, along with Lynott on bass and vocals, to their final album released in 1983, illustrious guitarists such as Gary Moore, Scott Gorham, Brian Robertson, Snowy White, John Sykes, and keyboardist Darren Wharton all played with the band. "Bad Reputation" was their eighth album, preceded by the commendable "Johnny the Fox", an album that didn't achieve the same acclaim as its predecessor, "Jailbreak", partly due to its conceptual experimentation. For "Bad Reputation", the band, in addition to Downey and Lynott, featured guitarists Robertson and Gorham, and it was produced by Tony Visconti, who had previously produced David Bowie's "Heroes" album that same year. This is undoubtedly Thin Lizzy's hardest and most aggressive work of their entire career; however, all that power is not without its captivating melodies, as demonstrated by the thrilling "Soldier of Fortune". Besides this iconic song, other highlights include the hypnotic "Southbound", the irresistible "Dancing in the Moonlight" with its pop rhythm, the raw "Bad Reputation", the frenetic "Killer Without a Cause", the mid-tempo "Downtown Sundown", and the enormous "Opium Trail", resulting in an album as brilliant as it is essential within the hard rock genre.

Hawkwind-Warrior On The Edge Of Time (1975)

With their fifth album, Hawkwind continued their progressive and lysergic journey, which they had begun with their previous album, "Hall of the Mountain Grill". "Warrior on the Edge of Time" brought together everything that had captivated Hawkwind up to that point. It's all present here, brimming with pure (and perhaps even exaggerated) poetic lyrics, tracks overflowing with flutes, echoes, saxophones, sharp, lysergic guitars, hazy bass lines, and diverse electronica with overwhelming synthesizers and mellotrons everywhere. It's an astonishing concept album based on tales of wizards and space wars, all bathed in psychedelic music. But in addition to the band's ever-intricate style, there were their frequent lineup changes, and this album was no exception. Keyboardist Del Dettmar left, and a second drummer, Alan Powell, joined, a factor reflected in the powerful and varied percussion sounds throughout much of the album. The opening track, indebted to the best of krautrock, “Assault & Battery/ The Golden Void”, immerses us in a complex composition with a stormy barrage of mellotron sounds combined with a heavy rhythm featuring flutes, organs, and a powerful bass line. “The Wizard Blew His Horn” is essentially an introductory piece by science fiction writer Moorlock, set against a backdrop of strident, surreal sounds, and serves as a prelude to the hypnotic, spacey “Opa-Loka”. This is followed by the frenetic, progressive “Magnu”, with its excellent riffs and powerful percussion, leading into the more spacey and electronic “Spiral Galaxy 28948”. The album concludes with the more purely rock tracks “Dying Seas” and “Kings of Speed.” “Warrior on the Edge of Time” is considered one of Hawkwind’s greatest contributions to history and a minor masterpiece of space rock. From here on, and following the trail of continuous defections, bassist Lemmy Kilmister would leave the band (he was actually expelled for drug smuggling and for his clashes with the rest of the members over musical differences), to later found the iconic heavy metal band, Motorhead.

Nazareth-No Mean City (1979)

In the mid-seventies, Nazareth's sound shifted towards a more melodic direction, which diminished their credibility within the hard rock community and among their own fans. Therefore, with "Expect No Mercy" (1977), they returned to a harder sound with an album packed with powerful hard rock tracks. A year later, they repeated the formula with "No Mean City", the band's tenth album. By then, the Scottish band had expanded with the addition of guitarist Zal Cleminson, formerly of The Sensational Alex Harvey Band, adding greater depth to Nazareth's unmistakable style. Replete with memorable moments like the irresistible hard rock track “Simple Solution”, which structurally recalls “Free Wheeler” from the legendary “Loud ’n’ Proud” of years past, while the energetic “Just To Get Into It” and the dark and heavy “Claim To Fame” once again leave that lingering taste of the band's powerful and forceful hard rock. Meanwhile, the rhythmic “No Mean City (Parts 1 & 2)” brings us back to Nazareth at their most dynamic. On the opposite end of the spectrum are “May The Sunshine” and “Star”, tracks with folk influences that alternate acoustic sounds with catchy choruses. Despite the positive reception from their fans, the band would choose with the following album "Malice In Wonderland" to return to playing with AOR sounds, combining the sound of melodic rock with powerful hard rock tracks, which meant acceptance or resignation (depending on how you look at it), from some sectors of their large legion of followers.

Toto-Hydra (1979)

After the enormous success of Toto's self-titled debut album, the American band decided to continue exploring new sounds and avoid becoming stuck in melodic rock geared towards radio hits. Unlike their debut, on their second full-length album, keyboardist David Paich didn't unilaterally take the reins of songwriting, as he had on their first album. Here, of the eight tracks, four are credited to the rest of the band, while Paich himself wrote the remaining four and co-wrote the other four. Due to David Paich's affinity for progressive rock, "Hydra" features more complex and ambitious tracks, such as the opening, progressive title track, "Hydra", which culminates in the following track, "St. George and the Dragon", in a kind of small conceptual suite. With “99”, the band returns to its comfort zone: melodic and addictive AOR, closing the first side with the epic and dynamic “Lorraine”. For the second side of the album, the band reserves its more rock-oriented tracks, such as “All Us Boys”, a hybrid of hard rock and melodic rock, the powerful “Mama”, the potent “White Sister”, and the ballad “A Secret Love”. These tracks bring to a close a release that, despite being musically far superior, received less commercial success than their debut. Even so, “Hydra” would reach high positions on the charts, achieving both gold and platinum status.

Budgie-Squawk (1972)

One of the best bands in British hard rock was the Welsh group Budgie, who released a series of fantastic albums, almost all of which are now considered cult classics in the proto-hard rock and early heavy metal community. Founded in Cardiff in the late 1960s, their initial lineup consisted of bassist Burke Shelley, drummer Ray Phillips, and guitarists Brian Goddard and Tony Bourge. In 1971, they released their first album on the MCA label, though Goddard was no longer with the band, thus solidifying their status as a powerful power trio. On this debut album, Budgie showcased their effervescent hard rock sound in a very early stage, featuring powerful guitar riffs and constant rhythmic shifts. A year later, and under the same label, came "Squawk", which, with a superb cover by Roger Dean, definitively confirmed the band's progression and maturity. It featured outstanding tracks such as the progressive "Young Is A World", with its great keyboard passages, and the powerful "Whisky River", "Hot As A Docker's Armpit", "Drugstore Woman", and the heavy "Stranted", while the bucolic "Make Me Happy" added a melodic touch to this interesting album from the Welsh band. A year later came the band's magnum opus and one of the best albums of the 1970s, the monumental "Never Turn Your Back On A Friend".

Incredible Hog-Volume 1 (1973)

Incredible Hog was a short-lived British band that released only one album packed with heavy doses of blues rock in the early 1970s. Formed by guitarist and singer Ken Gordon, bassist Jim Holmes, and drummer Tony Awin, they managed to put out a solid record where bluesy influences and hard rock intertwine in intricate tracks like the superb "Lame", while the hypnotic "Execution" offers a respite from the breakneck pace that follows with powerful hard blues numbers like "Tadpole", "Another Time", and "Warning", before bringing the energy down a bit with the more subdued "Walk The Road" and "There's A Man". However, as we've mentioned countless times, this was another band that would pass without fanfare through the annals of rock, and which is now so highly regarded by fans eager to discover obscure groups with little media exposure but enormous talent.

Jim Capaldi-Let The Thunder Cry (1981)

By now, it's hard to find someone who doesn't know Jim Capaldi, the legendary drummer of the iconic band Traffic, with whom he released such emblematic works as "Mr. Fantasy", "John Barleycorn Must Die", and "The Low Spark of High Heeled Boys", in addition to collaborating with other great artists like his former Traffic bandmate, Steve Winwood, and giants such as Eric Clapton and George Harrison, among others. His solo career began while he was still with Traffic with the album "Oh How We Danced", where he showcased his great talent as a composer and multi-instrumentalist, creating brilliant albums with superb compositions that, without adhering to a specific style, were always well-received by fans and critics alike. In 1981, his eighth album, "Let the Thunder Cry", was released, on which Capaldi enlisted the help of his former Traffic bandmates, Steve Winwood and Rebop Kwaku Baah, as well as Mel Collins and Andy Newmark, with Capaldi handling vocals, guitar, and production. An album that stands out for its exquisite production, where tracks like the opening and powerful “Let The Thunder Cry” contrast with the slow and brilliant ballads “Child In The Storm”, “Warm”, “Old Photographs” or “Bright Fighter”, while its melodic side can be found in the rhythmic “Favela Music”, “Only Love”, “Dreams Do Come True” or “We Don’t Need”, all of them with Capaldi’s captivating voice and irresistible choruses, making it an essential work in rock music.

UFO-UFO (1970)

In 1968 Pete Way (bass), Mick Bolton (guitar) and Tic Torrazo (drums) formed the "Hocus Pocus" group, then enter Phil Mogg (vocals) and Andy Parker (drums) and the band was renamed "UFO". In 1970 they recorded their first album, "UFO", and 72 come "UFO 2" and "UFO Live", these three albums were remarkably successful in countries like Japan, Germany or France.
Then Mick Bolton left the band and after trying several guitarists (Larry Wallis and Bernie Marsden), replaces a very young Michael Schenker would mark the band's sound in the coming years. In 74 released "Phenomenon" and a year later they are joined by Paul Chapman (guitar) leaving the group before the publication of "Force It" (1975). For the recording of their sixth album, "No Heavy Petting" (1976), joins the group Danny Peyronnel (keyboards, guitar) who was replaced by Paul Raymond for recording "Lights Out" (1977). This training would publish "Obsession" (1978) and the magnificent "Strangers in the Night" (1979). Michael Schenker decided to fly solo and left the group and was replaced by Paul Chapman with that record "No Place to Run" (1980). The changes are happening and Paul Raymond left the band and was replaced by John Sloman and later by Neil Carter. In 81 came "The Wild, the Willing and the Innocent" and a year later "Mechanix". In 82 Pete Way left the band and was replaced by Billy Sheehan place with which released "Making Contact" (1983) but sales are not appropriate and decide to separate.
Some time later the band would return to relive a second youth with very good albums like Walk On Water, Covenant and The Visitor among others ...
In this first album of UFO clearly noticed its roots blues mixed with psychedelia and experimentation, the road to the hard rock was still to come. The production is not very good because they counted as few resources but we can appreciate a superb Pete Way on bass. In the recording are two versions, "Who Do You Love" by Willie Dixon and "C'mon Everybody" Eddie Cochran it would be a remarkable success in Japan. Other outstanding issues would "Unidentified Flying Object", "Boogie" or "Follow you Home".

David Bowie-The Man Who Sold The World (1970)

David Bowie's third album marked, among other things, the beginning of his glam rock journey, although it is also, to some extent, one of his most intense works, imbuing his music with a powerful hard rock sound, a style that was the pinnacle of rock music at the time. On this new album, the Thin White Duke began to gravitate towards the sounds that would forever elevate him in the following years, as would soon be proven with the iconic "Ziggy Stardust". To begin with, "The Man Who Sold the World" already features several future members of Spiders and Mars: guitarist Mick Ronson and bassist, arranger, and producer Tony Visconti, both of whom would be fundamental to this release. Released by Mercury Records in the United States, it came out near the end of 1970, while RCA Records released it in the United Kingdom (and subsequently worldwide) six months later in April 1971. The album opens with a powerful "The Width Of A Circle", a titanic, nearly nine-minute track of mighty rock, where Ronson showcases his six-string prowess. In a similar vein are the frenetic "Black Country Rock" and the orchestral and melodic "All The Madmen". "Saviour Machine", on the other hand, is a strange piece somewhere between gothic and psychedelic, while "She Shook Me Cold" is the rare exception, a chaotic, odd instrumental that might seem like it was recorded as filler to pad out the album's runtime. The final two tracks are the enchanting "The Man Who Sold The World" and the powerful "The Supermen". This third album became one of David Bowie's best works and the prelude to his most musically creative works such as the aforementioned "Ziggy Stardust" or the fantastic "Aladdin Sane", "Hunky Dory" and "The Rise and Fall of Ziggy Stardust and the Spiders of Mars".

Burning Candle-Burning Candle (1981)

An interesting German band with a distinctly progressive style, founded in the mid-70s by Hans Neuber (keyboards), Rolf Vitzthum (drums), and Klaus Schmidt (guitars and bass). For a time, they became one of the sensations of German rock. Their sound was clearly related to their British contemporaries Emerson, Lake & Palmer, undoubtedly thanks to keyboardist Neuber, a classically trained musician. Consequently, there are also many elements of jazz and classical music throughout their work. Their only album became a collector's item due to the limited number of copies released and the enormous musical potential it offered. Released in 1981, the compositions on this album date back many years. The band had broken up in 1978 and reunited to record this brilliant album, at a time when progressive rock wasn't at its peak. It's curious to note how music composed during the height of the progressive rock craze was released just as the genre had lost some of its appeal. Highlights include tracks like "Stranger", a clear example of the German school of symphonic prog, featuring elements reminiscent of ELP. The rest of the album leans more towards the sounds of other German bands from the previous decade, such as Eloy, Ramses, and Novalis. The organ is present in most of the tracks, with movements reminiscent of Keith Emerson, as demonstrated in the superb "Eternal Faith". In "The Appearance of the Ghosts", they showcase their powerful symphonic rock with vibrant guitars and synthesizers featuring continuous rhythmic shifts, culminating in the acoustic "Mosella", a clear nod to Yes's "Mood for a Day", and the progressive epic "Expedition to the Sun", a clear example of the fusion of all their influenced styles and genres. Burning Candle is another example of a band that, for some strange reason, never had the chance to cross borders and reach the powerful and influential British market, achieving the well-deserved success that this magnificent and forgotten group rightfully deserved.

Genesis-A Trick Of The Tail (1976)

"A Trick of the Tail" was Genesis' first major test after Peter Gabriel's departure, and it proved not only a step forward in the band's career but also their most successful album to date. Far from the rumors of the band's breakup following the departure of their charismatic vocalist, the band opted not to recruit a new singer to fit their needs, but rather to have Phil Collins, the band's drummer at the time, take on the role, leveraging his vocal talent already showcased on tracks like "More Fool Me" and "For Absent Friends" from the albums "Selling England by the Pound" and "Nursery Cryme". Furthermore, Collins was ideally suited to be a live frontman, thanks to his experience as a stage actor, which he had pursued for several years before dedicating himself to music. However, it should also be noted that, in a way, Peter Gabriel's departure brought a kind of relief to the rest of the band, due to the already strained personal relationships the singer had with his bandmates. "A Trick of the Tail" was recorded during the last months of 1975 at Trident Studios in London, and the final result was a magnificent progressive rock album heavily influenced by British folk sounds, while maintaining their skills as a top-tier band. Phil Collins would demonstrate that he could not only fill Gabriel's shoes but also assume the role of leader, albeit still in a very subtle way. Compositionally, the band also benefited from a stronger presence of all its members and greater instrumental prominence for each of them, starting with Tony Banks' keyboards and Steve Hackett's guitar. Musically, the album itself is a minor masterpiece. Without comparing it to their previous work, it showcases a band that maintains an exceptionally high level of quality, both instrumentally and in their songwriting. This is evident in the opening and majestic "Dance on a Volcano", a superb track that clearly demonstrates the band's intentions, implying that they were far from finished. The rest is an amalgamation of outstanding pieces, such as the enchanting ballad "Entrangled", the rock anthem "Squonk", the intimate "Mad Man Moon", the theatrical and dynamic "Robbery, Assault and Battery", and the emotive "Ripples", concluding with the refined and commercially viable "A Trick of the Tail" and the progressive "Los Endos". Against all odds (especially from the perspective of purists and orthodox fans), this album garnered high praise from the specialized press and enormous commercial success, achieving several gold records on both sides of the Atlantic.

Clear Blue Sky-Clear Blue Sky (1970)

Clear Blue Sky was a short-lived British power trio who released only one album in the 1970s, but who nevertheless became a sensation on the British blues-rock circuit for a time. Formed by guitarist John Sims, drummer Ken White, and bassist Mark Shealther, they had their first major success in a talent competition held in London. From there, they opened for renowned artists such as Irishman Rory Gallagher and British band Free. Their excellent instrumental skills did not go unnoticed by bassist Ashley Kozak, who at the time, in addition to her role as a musician, also managed various artists for Brian Epstein's NEMS label. She eventually managed to sign them to Vertigo Records and financed their self-titled debut album, released in 1970. Produced by the then-experienced Patrick Campbell-Lyons and featuring cover art by the then-unknown Roger Dean, the band showcased an interesting style of psychedelic hard rock with highly elaborate passages where the guitar always takes center stage with its incendiary riffs. The album kicks off with a bang with the saturated "Journey To The Inside", which, divided into several parts, is the longest track on the record with constant tempo changes. It continues with tracks like the psychedelic "You Mystify" and the more melodic and relaxed "Tool Of My Trade" and "My Heaven", before closing with the hard rock anthem "Birdcatcher". However, despite the band's high quality and this impressive debut, poor sales and a lack of public interest led these three young musicians to abandon the project, and they disbanded shortly thereafter. Many years later, in the nineties, they would release new material again in a series of albums that had no media impact.

Universe-Universe (1971)

The story of this band is quite intriguing. Relegated to the sidelines in their native England, they dedicated themselves to playing concerts throughout Northern Europe. During a tour of Norway, they met a strange character who offered to record an album for them in his home studio. This album was released in a very limited edition of just a few hundred copies, and today it is highly sought after by discerning vinyl collectors and fans of blues and rock music. Hailing from Cardiff, this band had formed in late 1968 as a blues group called Spoonful. Several years later, they changed their name to the definitive Universe, and it was in 1971, while touring Norway, that they recorded and released their only album, which was self-titled. Universe consisted of guitarist, vocalist, and harmonica player Steve Finn, guitarist Mike Lloyd, bassist John Healan, drummer Rob Reynolds, and organist Mike Blanche. Universe was made up of guitarist, vocalist, and harmonica player Steve Finn, guitarist Mike Lloyd, bassist John Healan, drummer Rob Reynolds, and organist Mike Blanche. They played progressive heavy rock, as evidenced by their only album, which features standout tracks like the psychedelic blues "Twilight Winter", the heavy blues "Universe", the progressive blues "Spanish Feeling" with its Andalusian flavor imparted by the interplay of Spanish guitar and Creole rhythm and the lilting blues "The Annexe". Back in the UK with the album in hand, they toured with leading bands such as Fleetwood Mac, Rory Gallagher, Jethro Tull, Yes, and Black Sabbath, among many others. The original edition of this record became one of the strangest progressive blues albums in history, firstly due to its limited run and secondly because of the unusual label on which it was released (Experience Records), which was never heard from again. In fact, this was the only album they ever released, and the label offered virtually no information about the musicians or other details of interest on its brief and minimalist cover. Later, in 1972, this band would finally dissolve without leaving any trace of the subsequent fate of all its members.

Nutz-Hard Nutz (1977)

Founded in 1970, Nutz were a hard rock band who enjoyed their moment of glory when they were chosen to support UFO, Black Sabbath, and Budgie in the mid-70s, and gave a memorable performance at Reading in 1976. Hailing from Liverpool, the band was formed by guitarist Mick Davenport, who, along with drummer Jon Maylett and bassist Keith Mulholland, cultivated a large following by playing regularly at the legendary Cavern Club. Around the same time, thanks to a television advertisement, they discovered singer Dave Lloyd, who then became the lead vocalist. For a while, the band was based at the Cavern Club itself, recording during the day and performing at night. Their performances led to a deal with A&M Records, with whom they released their first album, which failed to meet expectations. Their next album, "Nuz Too". released in 1975, achieved better results thanks in part to improved production and the outstanding tracks "Changes Coming" and "The Love That You Lost", the latter featuring former Free member John "Rabbit". From this point, the band embarked on a long tour of the United States, despite neither of their albums having been released in the North American market. Back in England, they were chosen to support Black Sabbath on their British tour in support of the album "Technical Ecstasy". This tour earned them a spot at the Reading Festival that same year. By then, the band had expanded with the addition of keyboardist Kenny Newton, with whom they recorded their third album, and ultimately their best work, "Hard Nutz". This third release showcased a much more mature band, with compositions brimming with high quality and powerful hard rock. Besides the powerful guitar riffs, addictive vocals, and driving rhythm section, it's the keyboards that give an irresistible cohesion to this memorable album. Frenetic tracks like "Seeing Is Believing" and "Wallbanger" contrast with the melodic hard rock of "Down On My Knee", "Beast Of The Field". "Loser", and "I Know The Feeling", while on "From Here To Anywhere" the band ventures into more complex and progressive sounds. A subsequent tour with Budgie, the recording of "Bootligers" for the legendary NWOBHM compilation "Metal For Mutts" and the release of several live albums were the last recorded contributions of this magnificent and now-forgotten British band.

Morningstar-Morningstar (1978)

Morningstar was a short-lived American band that, with their only two albums, achieved cult status in the United States in the late 1970s. Hailing from Kansas, they amassed a considerable following over a few years, a fact that did not go unnoticed by CBS Records, who, capitalizing on the group's fame, offered them a multi-album recording contract. Morningstar consisted of drummer Greg Harris, bassist Greg Lech, and guitarists Jerry Chambers, Michael Edmunds, and Rick Bacus, the latter also handling keyboards, and virtually all of them were vocalists. In 1978, they released their self-titled debut album, showcasing a style akin to the pom-rock bands of the era such as Styx, Angel, and Shooting Star, but with a much more rock-oriented approach, featuring prominent guitars, melodic vocals, and bombastic keyboards. Tracks like the AOR anthems "Premeditated Rendezvous" and "Too Much To Lose" contrast with the more complex "Through The Night" and "Sady Lady", while the harder rock side is represented by songs like "Turn Out All The Lights" and "Sweet Georgia Peach". A year later came "Venus", an album showcasing a much more sophisticated and polished sound, and better production. However, the music recorded on this second release was not without commercial appeal, as demonstrated by the outstanding tracks "Angel", "Never Meant To Be", "Rosie", and "Let Me Dream". Despite both albums enjoying a good commercial reception, with quite respectable sales, CBS, more focused on other, more successful bands on its label such as Journey and REO Speedwagon, among others, stopped supporting them. This ultimately led to their disbandment in the early 1980s, leaving behind two great examples of the best American pop rock of the 1970s.